study guide - Royal Winnipeg Ballet

GISELLE
STUDY GUIDE
Canada’s Royal Winnipeg Ballet
T-B Gweneth Lloyd, Betty Farrally, Her majesty Princess Elizabeth’s visit to Winnipeg
includes a command performance which introduces her to The Winnipeg Ballet (1951)
Company Dancers
PHOTO: Réjean
Brandt Photography
ABOUT
Gweneth Lloyd and Betty Farrally founded Canada’s Royal Winnipeg Ballet
School nearly 75 years ago. The two women met when Lloyd was running
a dance school in Leeds, England and Farrally was her student. They both
immigrated to Canada in 1938, and settled in Winnipeg. There they offered
dance classes to the community – starting out with only six students in their
first year. Word quickly spread, however, and by year two their enrolment had
grown and they were able to establish the “Winnipeg Ballet Club.”
By 1943, The Winnipeg Ballet was formed with all of its dancers coming
from the Club. Six years later, the Company officially became a not-for-profit
cultural institution. In 1951, the Company was invited to perform for then
Princess Elizabeth during her visit to Winnipeg, just prior to her becoming
Queen of England. Following her coronation in 1953, she bestowed The
Winnipeg Ballet’s “Royal” designation.
Between the Royal Winnipeg Ballet (RWB) School’s two divisions of study, there
is a place for virtually every type of dance student: from preschoolers to adults,
those new to dance and those aspiring to become professional dancers.
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PREPARING To see the ballet
This booklet is designed to enhance the student’s experience at Canada’s Royal Winnipeg Ballet’s performance
of Giselle. The activities and information included are organized to help students prepare, understand, enjoy,
and respond to their experience watching the performance.
DURING THE PERFORMANCE:
Enjoy the ballet! As part of the audience, your attendance is as essential to the ballet
performance as the dancers themselves. Prior to arriving at the theatre, discuss
proper audience etiquette using the keywords below. These steps will help students
handle their feelings and enthusiasm appropriately. It is also very important to arrive
on time or even early for the performance in order to allow enough time to settle in
and focus on the performance.
CONCENTRATION: Always sit still and watch in a quiet, concentrated way. This
supports the dancers so that they can do their best work on stage.
AFTER THE
PERFORMANCE:
Process and respond
to the performance
by engaging in class
discussions or writing a
letter to the RWB. We love
to get feedback from our
student groups.
WRITE TO:
QUIET: Auditoriums are designed to carry sound so that the performers can be
heard, which also means that any sound in the audience (whispering, laughing,
rustling papers or speaking) can be heard by dancers and other audience members.
Your movement or checking your phone and texting disrupts the performance for
everyone, so always ensure that phones and other electronic devices are turned off
during the entire performance.
RESPECT: By watching quietly and attentively you show respect for the dancers. The
Canada’s Royal Winnipeg Ballet
380 Graham Avenue
Winnipeg, MB, R3C 4K2
E [email protected]
facebook.com/RWBallet
twitter.com/RWBallet
dancers show respect for you (the audience) and for the art of dance by doing their very
best work.
APPRECIATION: Do clap at the end of a dance (when there is a pause in the music) if
you feel like showing your appreciation.
instagram.com/RWBallet
pinterest.com/RWBallet
At Canada’s Royal Winnipeg
Ballet, our mandate is:
RWB Company Dancers
PHOTO: Samanta
Katz
“To enrich the human experience by
teaching, creating and performing
outstanding dance.”
Whether touring the world’s stages,
visiting schools, offering rigorous
dance classes for all experience
levels, or performing at Ballet in
the Park each summer, the RWB
consistently delivers world class
dance and instruction to the citizens
of Winnipeg and far beyond.
Find out more about us at rwb.org.
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ABOUT
Ballet
Marie Camargo, with her ankles exposed
The First Ballet
In 16th century France and
Italy, royalty competed to
have the most splendid
court. Monarchs
would search for and
employ the best poets,
musicians and artists.
At this time, dancing
became increasingly
theatrical. This form of
entertainment, also called
the ballet de court (court
ballet), featured elaborate
scenery and lavish
costumes, plus a series
of processions, poetic
speeches, music and
dancing. The first known
ballet, Le Ballet comique de
la Reine, was performed at
court in 1581 by the Queen
of France (and her ladies)
at her sister’s wedding.
The Sun King
In the 17th century,
the popularity and
development of ballet
could be attributed to
King Louis XIV of France.
He took dancing very
seriously and trained daily
with his dance master,
Pierre Beauchamp. One
of the King’s famous
roles was the Rising Sun
which led him to become
known as the “Sun King.”
King Louis also set up
the Academie Royale de
Danse (Royal Academy of
Dance) in 1661, where, for
the first time, steps were
structurally codified and
recorded by Beauchamp.
These are the same steps
that have been handed
down through centuries,
and which now form the
basis of today’s classical
ballet style.
The First
Professional Dancers
At first, ballets were
performed at the Royal
Court, but in 1669 King
Louis opened the first
opera house in Paris.
Ballet was first viewed
publicly in the theatre
as part of the opera.
The first opera featuring
ballet, entitled Pomone,
included dances created
by Beauchamp. Women
participated in ballets at
court, but were not seen
in the theatre until 1681.
Soon, as the number of
performances increased,
courtiers who danced
for a hobby gave way to
professional dancers who
trained longer and harder.
The physical movement
of the first professional
dancers was severely
hindered by their lavish
and weighty costumes
and headpieces. They also
wore dancing shoes with
tiny heels, which made it
rather difficult to dance
with pointed toes.
Revealing Feet and Ankles
Early in the 18th century
in Paris, the ballerina,
Marie Camargo, shocked
audiences by shortening
her skirts to just above the
ankle. She did this to be
freer in her movements
DID YOU KNOW … ?
Dancing ballet puts
a lot of wear on a
dancer’s shoes. Some
dancers need to get
new shoes every week!
and allow the audience to
see her intricate footwork
and complex jumps, which
often rivaled those of the
men. Ballet companies
were now being set up
all over France to train
dancers for the opera. The
first official ballet company
(a collection of dancers
who train professionally)
was based at the Paris
Opera and opened in 1713.
The Pointe Shoe
By 1830, ballet as a
theatrical art form
truly came into its own.
Influenced by the Romantic
Movement, which was
sweeping the world of
art, music, literature and
philosophy, ballet took
on a whole new look. The
ballerina ruled supreme.
Female dancers now
wore calf-length, white,
bell-shaped tulle skirts.
To enhance the image of
the ballerina as light and
ethereal, the pointe shoe
was introduced, enabling
women to dance on the
tips of their toes.
Classical Ballet
Although the term
“classical” is often used to
refer to traditional ballet,
this term really describes
a group of story ballets
first seen in Russia at the
end of the 19th century.
At this time, the centre of
ballet moved from France
to Russia. In Russia, the
French choreographer
Marius Petipa collaborated
with the Russian composer
Pyotr Tchaikovsky to create
the lavish story ballet
spectacles such as Swan
Lake, The Sleeping Beauty
and The Nutcracker. Today,
these ballets still form the
basis of the classical ballet
repertoire of companies all
over the world.
One Act Ballets
In 1909, the Russian
impresario Serge
Diaghilev brought
together a group of
dancers, choreographers,
composers, artists
and designers into his
company, the Ballets
Russes. This company
took Paris by storm as
it introduced, instead
of long story ballets in
the classical tradition,
short one act ballets
such as, Schéhérazade,
Les Sylphides, The Rite
of Spring, Firebird and
Petrouchka. Some of the
worlds greatest dancers,
including Anna Pavlova
(1881-1931), Vasslav
Nijinsky (1889-1950) and
choreographers Mikhail
Fokine (1880-1942) and
George Balanchine
(1904-1983) were part of
Diaghilev’s company.
SEE FOR YOURSELF!
Do a search for images of ballet
dancers throughout the ages.
Can you notice the differences
in costumes over time? What do
most dancers wear today?
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THE LIFE OF A DANCER
The career of a dancer is relatively short and it is not
unusual to spend more years training than dancing
professionally. As in Olympic-level sport, the movements
demanded of the human body in ballet are very specific
and require great precision and care. For that reason, the
physique must be prepared for a professional ballet career
at a young age.
The professional training period usually consists of at least
seven years of intensive, precise work. Ideally, girls and boys
should begin their professional training by age ten. Training
is a very progressive process. The young professional
student begins with daily classes, practicing the basic ballet
positions and movements, learning body placement and
how to move through the space with balance and artistry.
As the student progresses, time spent in classes each week
increases, as do the difficulty and extensiveness of the skills
taught. In addition to daily class in classical technique,
students also receive instruction in variation (solo) work,
pointe (dancing on the toes), pas de deux (a dance for two),
character (ethnic), jazz and modern dance.
Sophia Lee PHOTO: Réjean Brant Photography
Prior to the introduction of pointe work, a number of criteria
must be considered. These include the amount of previous
training, a dancer’s strength and ability, as well as age as
it relates to the bone development in the dancer’s feet. Pas
de deux and repertoire (the collection of different ballets
a dance company performs) are introduced only when the
student has adequate strength, ability and training.
Students who graduate to a professional ballet company
usually begin dancing as a member of the corps de ballet
(ensemble). After a few years, corps de ballet members
whose artistry, technical ability, musicality and ability to
communicate with the audience set them apart may be
promoted to first or second soloist. Finally, the highest
achievement in the company, the position of principal
dancer, is attainable by only a few select dancers.
ESTABLISHING DANCE IN NORTH AMERICA
Almost all contemporary ballet companies and dancers are influenced by Diaghilev’s Ballet Russes. The first visit by
this company to North America in 1916-1917 stimulated great interest in ballet. Dancers from the Ballets Russes
were instrumental in furthering this new interest in ballet. For example, dancer George Balanchine went to the
United States and founded the New York City Ballet (originally called the American Ballet). He became renowned
for perfecting the abstract ballet and for establishing neo-classicism through his choreographic masterpieces such
as Serenade, Agon and Concerto Barocco. Ninette de Valois and Marie Rambert also went on to found, respective,
England’s Royal Ballet and the Rambert Dance Company. It is from these English roots that two English Women,
Gweneth Lloyd and Betty Farally, founded the Royal Winnipeg Ballet in 1939 (the oldest ballet company in Canada).
Celia Franca also came to Canada and in 1951, she founded The National Ballet of Canada in Toronto. Some of the
worlds greatest dancers, including Anna Pavlova (1881-1931), Vasslav Nijinsky (1889-1950) and choreographers
Mikhail Fokine (1880-1942) and George Balanchine (1904-1983) were part of Diaghilev’s company.
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GISELLE
Synopsis
MUSIC: Adolphe Adam
SCENIC & COSTUME DESIGN: Peter Farmer
LIGHTING DESIGN: Nicholas Cernovitch
Yayoi Ban PHOTO: Réjean Brandt Photography
CHOREOGRAPHY: Peter Wright
AFTER: Jules Perrot, Jean Coralli and Marius Petipa
STAGED BY: Catherine Taylor
They seek rest in Berthe’s cottage and Bathilde,
charmed by Giselle, gives her a necklace. The Duke
orders a hunting horn to be left so that his courtiers may
be summoned in due course and this provides Hilarion
with proof of Loys’ identity as he compares the crests on
the horn and on a sword he has found in Loys’ cottage.
Just as Giselle is crowned Queen of the Vintage, Hilarion
reveals the truth about Loys. When Bathilde returns
and claims Albrecht as her fiancé, the shock unseats
Giselle’s reason. In her madness she relives her love
for Loys and seizing his sword, she kills herself.
ABOUT GISELLE
ACT II - GISELLE’S GRAVE IN THE FOREST
Hailed as one of the greatest of all ballets and a
supreme achievement of the Romantic era, Giselle
has captivated audiences worldwide since its
premiere in in Paris in 1841. Giselle is often referred
to as the Hamlet of ballet due to the complexity of
the title character.
As midnight sounds, Hilarion keeps vigil by Giselle’s
grave, which lies in unhallowed ground by a forest lake.
This is the time when the Wilis materialize - ghosts of
young girls who have been jilted and have died before
their wedding day; now they avenge themselves by
dancing to death any man whom they happen upon
during the hours of darkness. Myrtha, their Queen,
summons her Wilis; and next Giselle is called from
her grave to be initiated into their rites. When Albrecht
enters, bringing flowers for Giselle’s tomb, Giselle
appears to him. The Wilis pursue Hilarion, whom they
drive to his death, and then fall vengefully upon Count
Albrecht.
Set in the twilight spirit world of the Wilis, the
German legend tells the story of a young peasant
girl’s love for a nobleman and her ultimate betrayal
at his hands. Giselle’s heartbreak and despair lead
to her tragic demise, but she and the other jilted
village girls seek their revenge from beyond the
grave as irresistible spirits of a deathly dance.
ACT I - A RHINELAND VILLAGE
Count Albrecht loves Giselle, a peasant girl,
though she knows him only as a villager named
Loys. Giselle’s mother, Berthe, hopes that her
daughter will marry Hilarion, a forester devoted to
Giselle, and warns her against Loys. But Giselle
disregards Hilarion, and joins with her beloved in the
celebrations that mark the end of the grape-harvest.
When Albrecht’s squire secretly warns his master of
the approach of a hunting party, Hilarion observes
them and manages to break into Loys’ cottage,
seeking to learn the secret of Loys’ identity.
The hunting party arrives, led by the Duke of
Courland and his daughter Bathilde, Albrecht’s
future bride, who are staying at Albrecht’s castle.
Myrtha condemns him to dance until he dies, and
though Giselle urges him to the safety of the cross
on her grave, Myrtha commands Giselle to dance and
lure Albrecht from the cross. Giselle tries to sustain
him, but as the night wears on, his dancing becomes
more and more exhausted. Just as his death seems
imminent, dawn breaks. Daylight destroys the Wilis’
power and the ghostly dancers fade away; Giselle, too,
melts away, leaving Albrecht sorrowing and alone.
DID YOU KNOW … ?
Act 2 of Giselle is a ballet blanc or “white” ballet in
which all the ballerinas are dressed in white and
the dances have a geometric design. Other white
ballets include Swan Lake and the snowflake scene
from Nutcracker.
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GISELLE
Characters
GISELLE & ALBRECHT
GISELLE
A young peasant girl. Though
shy and unworldly, Giselle
draws the attention of Count
Albrecht, who is mesmerized
by her innocence, carefree
spirit and vitality. It is
important to remember that
Giselle suffers from a weak
heart and therefore cannot
work in the fields with the
other girls.
ALBRECHT
The Count of Silesia,
Albrecht is a young
nobleman who is destined to
lead an aristocratic life. He
is engaged to Bathilde,
a noblewomen. But Albrecht
is bored and restless with
high society, so he assumes
a disguise as the peasant
Loys.
BATHILDE
Daughter of the Duke
of Courland, fiancée to
Albrecht. Bathilde meets
Giselle in the first act when
her hunting party takes
refreshments in the village.
HILARION
A hunter of simple means,
who is in love with Giselle.
Hilarion is jealous and
suspicious of Albrecht. He
is determined to find out the
true identity of the stranger.
MYRTHA
Queen of the Wilis who rules
over the Wilis of the forest.
The Wilis are ghosts of girls
betrayed in love. They seek
their revenge by casting
spells on men who wander
into the forest and make
them dance to their deaths.
The longevity of Giselle is credited not only to its
historical value but to the universality of its tale - a
story of love, class distinction, betrayal, remorse and
forgiveness. Like Romeo & Juliet, Giselle is a story of
lovers separated by the artificial barriers of society.
For both dancers and audience members, the roles of
Giselle and Albrecht prove a fascinating challenge, as
they allow for multi-faceted psychological character
development.
The role of Giselle is unique, from its costuming to the
complexity of its character makeup. At the time of its
creation in 1841, Giselle was one of the first ballets to
introduce the female dancer in pointe shoes, a device
that allowed her wider possibilities of movement.
The result was that she seemed light, ethereal and
otherworldly on stage. The introduction of calf-length,
lightweight tulle dresses with tight bodices also
allowed for greater freedom in leg movements and the
appearance of softer, “romantic” arms.
The contrasting thematic concerns of Giselle also lent
themselves to the Romantic fervour of the period. While
many ballets dealt either with an idealized peasant
life or the fantastic, Giselle incorporated both. The
ballet is set in two locales, which are set off in sharp
contrast. Act I takes place in the peasant village, which
is contrasted with the moonlit forest glade of Act II. As
well, the realism of Act I is contrasted with the fantasy
elements of Act II. The first act incorporates bright and
lively mime and musical leitmotifs that develop the
drama. Before the end of Act I, Giselle’s mad scene
begins the transition to Act II, in which the demonic
world of the wilis is represented as dark, somber and
melancholic.
The character of Giselle also goes through a
transformation, from light-hearted peasant girl to
crazed woman and, finally, to a ghostly vision. Giselle
is a challenge for ballerinas who must combine
dramatic ability and technical brilliance to bring about a
convincing performance in a role that is both physically
and emotionally exhausting.
One of the most powerful scenes in the ballet is
Giselle’s death. Does she die of madness or of a broken
heart? Or does she commit suicide when she thrusts
Albrecht’s sword toward her heart? Should the ballerina
seem to thrust the sword into her heart or not? Since
early documentation proves inconclusive on the subject,
the scene has been dealt with in various ways by
Top - Bottom: Carlotta Grisi as Giselle, Albrecht 1st Costume Design by Paul Lormier, Portrait of a young woman Sandro Botticelli,
Hilarion by Libico Maraja, Jules Bouvier of Adèle Dumilâtre as Myrtha
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Characters
GISELLE & ALBRECHT CONTINUED
dancers, producers and choreographers. The only
clear fact is that Giselle is not buried in a graveyard
but in the depths of a forest in unhallowed ground.
Only a suicide would warrant such a burial. Peter
Wright has said he believes Giselle kills herself, but
in his own productions dancers have changed the
scene to suit their own interpretations. In the late
1800’s in Russia, during Marius Petipa’s tenure as
ballet master of the Imperial Theatre, suicide was
not accepted on stage, so Giselle was invariably
shown as dying from madness.
Theophile Gautier’s original conception of the mad
scene was written with poetic flair, but was rather
vague as to what actually took place. Gautier wrote:
“Her strength is soon exhausted, she staggers,
sways, seizes the fatal sword brought by Hilarion
and would have fallen on its point if Albrecht had not
turned it aside with quickness born of despair. Alas,
the precaution is in vain; the blow has struck home;
her heart is pierced and Giselle dies; consoled at
least by her lovers’s grief and Bathilde’s tender pity.”
The role of Albrecht provides male dancers with one
of ballet’s most interesting and complex characters.
Far removed from the porteurs of most classical
works, who simply carry the ballerina, Albrecht is a
fully rounded character capable of standing on his
own and holding centre stage. He is also very much
a modern man, which makes him very accessible for
today’s interpreters and audiences.
There is no right or wrong way to portray Albrecht.
Because Albrecht is a nobleman in disguise, it might
be assumed that he wishes to be freed from his
elevated social position. It is also possible that he
has grown alienated from his wealth and is seeking
a more spiritual, simple and authentic existence. Or
maybe he is a restless dreamer who seeks a quaint
diversion among the peasants. Within the village
setting, Albrecht meets a young girl, Giselle. In
falling in love with Giselle is Albrecht a cad? Is he a
thoughtless nobleman and idle flirt? Or is he truly
in love with Giselle but simply naïve about the social
implications of their liaison? Whether or not he is
concerned with the consequences of his actions, he
is nevertheless soon confronted with them.
Already engaged to be married, Albrecht is
prevented by his duty to his aristocratic family to
fulfill his love for Giselle. Giselle’s madness and
subsequent death not only awaken Albrecht’s
moral sense, but also brings to the fore his emotions,
primarily love and guilt. Through Giselle’s love and
forgiveness in Act II, Albrecht gains a new awareness,
humility and a sense of responsibility. He is also made
aware of the gulf between reality and his ideals, and
his inability to merge the two. He must fight for his life
in this act, at the mercy of the powerful wilis, whose
supernatural powers compel him to dance to his
death. This second act is for Albrecht both a dream of
ideal love, in his sublime moments with Giselle, and
a frightening nightmare, in his encounter with the
wilis. Two aspects of sleep are revealed, following the
Romantic’s philosophy that the ideal is to be found only
in dreams and art.
At the end of the ballet, Albrecht is left on stage, a
solitary figure. Dancer’s interpretations vary in these
final moments, sometimes walking into the distance,
away from the audience or toward it; sometimes
carrying a lily, the only tangible link with Giselle, at
other times allowing the flower to fall to the ground;
others end the ballet reaching out for the illusive
dream. In the original production, this scene was
taken one step further, with Bathilde, Albrecht’s
betrothed, returning to his side. The audience would
have concluded that although he had savoured his ideal
(Giselle), he was reconciled to return to reality.
DID YOU KNOW … ?
After 160 years it’s
still widely disputed if
Giselle’s cause of death
was from madness
causing a broken heart
or committing suicide.
DID YOU KNOW … ?
The origin of the word
‘willies’, meaning a
feeling of creepiness
or fear, comes from
the German folklore
of ‘wilis’ (pronounced
wil –eez), spirits of
jilted brides that haunt
the forest at night.
Photo: Axel Rouvin
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THE METHOD &
THE MADNESS
Madness and death have long played well in art,
both as themes and as devices. In the Romantic era,
they often made the production.
As one of the greatest Romantic ballets, Giselle took
madness and death to new heights of expression.
Bedeviled by lost love for the duplicitous Albrecht,
the shy young peasant woman of the title goes
insane before the end of Act I, which closes with
her death - either from the strain on her weakened
heart or, more contentiously, by impaling herself
on Albrecht’s sword. In Act II the dead Giselle has
a spectral half-life in the company of the wilis vampirish women who were denied their promised
weddings in life and now rise from the depths at
midnight to wreak their revenge on men by dancing
victims to death.
With emotions writ large, Giselle is one of the most
challenging roles for a ballerina. In the passage
from exuberance to madness to death, the dancer
must negotiate the transition from the corporeal to
the spiritual, and furthermore keep melodrama at
bay. Such were the challenges of the Romantic era.
United with such disparate 19th century figures
as Ludwig van Beethoven and Alexandre Dumas,
Romanticism eludes crisp definition. In essence,
however, it has its font in Jean-Jacques Rousseau’s
essay, The Social Contract. Writing in the spirit of
the French Revolution, Rousseau argues that the
healthy response to materialism and greed is a
return to nature - not as a location but as a state
of mind that favours pastoral life, mythology and
the supernatural to realism, and emotions over the
intellect. One result of this was a nostalgia for the
rural life, such as the Austrian village where Giselle
takes place.
WOMEN AND
ROMANTICISM
Romanticism also promoted an outsize view of
women that we understand today as the virgin/
temptress axis, with women representing either the
ideal of heavenly purity or diabolical darkness. This
dovetailed neatly with the fascination for fantastic
worlds (and underworlds). At about the same
time there was a growing interest in Europe with
psychology and the exploration of uncommon states
of mind. For artistic purposes, moreover, madness
was the most convincing step between the real and
the supernatural worlds.
Ballet brought those ideas to life. The art celebrated
the idealism of the female form as ethereal, almost
weightless, not of this world. The illusion was enhanced
by the development of pointe shoes - Giselle was one of
the first ballets in which the female dancer wore them and lighter costumes, and a new sophistication in lighting
and staging techniques for enhanced stage effects, all of
which helped introduce a fantastic sisterhood of witches,
angels, sylphs, et al. The first significant Romantic ballet
is The Dance of the Dead Nuns, from Giocomo Meyerbeer’s
1831 opera, Robert le Diable, which takes place in a
graveyard and is steeped in suitably occult airs. In La
Sylphide, a tragic ballet that opened in Paris the following
year, a Scottish nobleman falls in love with a female elf.
The rising ballerinas of the age found their own places in
the Romantic template. Slight, pale and vestigial, Marie
Tagliani was nicknamed “The Christian” for her angelic
turns. At the other end of the purity scale there was Fanny
Elssler, whose earthy, saucy work ensured plenty of
pagan roles. In Carlotta Grisi, Giselle co-writer Théophile
Gautier claimed to find the “perfect blend of both.”
In Giselle, those ideas were crystallized. Gautier was
taken by Heinrich Heine’s 1835 novel, De l’Allemagne, with
its story of the wilis. While drawn from Slavic lore and
related to the roots of vampire mythology, these dancing
women - graceful even in the afterlife, compelling in
their mad need to dance to assuage their broken hearts
- personify the Romantic image of the ‘other’ woman.
(Such dramatic madness tends to be a female domain.
Think of Medea in the original melodrama, or Ophelia and
Lady Macbeth in Shakespeare. The hysterical stereotype
has a strong parallel in Victorian times in Charles
Dickens’ Great Expectations, with the eerie Miss Havisham
as the bride-to-be who was jilted before the altar.)
Richard Wagner was one who was taken by the first
performance. Writing in Dresdner Abendzeitung, he
enjoyed the “opportunity the wilis’ sinister desire to dance
offers for staging the most incredible pirouettes, the most
wonderful leaps!”
The role of Giselle was written with the rising Grisi in
mind (choreographer Jules Perrot was her favourite
creative partner). Lithe and graceful, Grisi put her
signature on the ghostly Giselle of Act II. Elssler was by
far the more dramatic dancer, and when she took her
turn at the role she emphasized the delirious Giselle
of Act I. Elssler’s command of the mad scene was so
persuasive with audiences that Grisi eventually dropped
the dead Giselle from her repertoire.
In making that role her own, Elssler may have instigated
a major change to the book as well. Rumour holds that
Elssler insisted on the removal of a closing scene in
which Bathilde, Giselle’s rival for Albrecht’s affections,
discovers her lover by Giselle’s grave. With the deletion of
that scene there was less chance that Albrecht would find
happiness with another woman.
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MELANCHOLIA AND
THE INFINITE SADNESS
Long before the advent of modern medicine and mental
health care, mental illness was believed to be caused
by ‘humors’ – semi-magical excretions of the organs
which would cause unwanted moods. Amongst these
was melancholia, a condition of profound despair from
contemplating the tragedy of the human condition. This
idea was ‘romanticised’ by artists of the Romantic era
and appears pervasively in art and literature.
Olga Spessitvtseva
Tragically, one Giselle found life imitating art all too well.
Ballerina Olga Spessitvtseva’s dramatic understanding
of Giselle’s torment was inspired mightily by her own
troubles. Shy by nature, disappointed repeatedly by men,
she suffered increasing stretches of depression. In 1934,
while dancing Giselle, she had one breakdown too many.
With her career finished, Spessivtseva spent the rest of
her days in an institution in New York.
Between today’s deeper understanding of mental
illnesses and an enduring, if ghoulish, fascination with
troubled souls - witness the attention paid to Pink
Floyd founder Syd Barrett or Brian Wilson of the Beach
Boys, both of whom suffered most public meltdowns
- the fascination with mental health issues persists.
As a dramatic art form, however, it changed and faded
as Romanticism gave way to more realistic modes of
expression and a championing of physical technique
over dramatics.
Jacob and Wilhelm Grimm in an 1843 drawing by their younger brother Ludwig Emil Grimm
MONSTERS OF THE
ROMANTIC ERA
The Romantic period saw a surge of monster stories,
many based in folklore, which arose out of anxiety over
the Scientific Revolution and the breaking the natural
order – think of Mary Shelley’s Frankenstein (1818).
Other stories originated at this time, including John
William Polidori’s The Vampyre (1819), and Grimms’ Fairy
Tales by the Brothers Grimm (1812). These stories went
on to influence modern and gothic authors like Bram
Stoker and H.P Lovecraft.
DID YOU KNOW … ?
The Boy Who Wanted the Wilies is a Brothers
Grimm fairy tale in which a boy named Hans joins
a circle of dancing skeletons.
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CLASSROOM
Activities
The trouble with honesty – Hilarion is the
‘villain,’ but what would you do if you were in
his shoes? Is Albrecht really a hero, or a selfish
boy? Write character analysis comparing
Hillarion and Albrecht.
Albrecht visits Giselle’s grave on ‘unhallowed
ground.’ What does this mean, and why do
you think she was buried there, instead of in a
graveyard?
Myths of evil female spirits abound in many
cultures, often with common themes. Many
stories tell of women who break cultural norms
and are transformed, as a result, into monsters.
Research female monster myths from around
the world and consider what they say about
the role of women. Here are a few to start with:
witch, selkie, and banshee.
To understand Giselle, you should be familiar
with terms related to the Romantic era.
Research the terms below and discuss their
meaning in relation to the ballet.
• Romanticism
• Melancholia
• Pastoral
• Realism
• Sublime
• Vanitas
• Hysteria
• Feudalism
• Rhineland
GO DEEPER
Delve further into the
passion and mystery of the
Romantic era by exploring
these works of art:
In the Hall of the
Mountain King,
Edvard Grieg (music)
The Ring,
Wilhelm Richard Wagner
(opera)
Der Erlkonig,
Johann Wolfgang
von Goethe (poetry)
La Belle Dame Sans Merci,
John Keats (poetry)
Frankenstein; or,
The Modern Prometheus,
Mary Shelley (novel)
The Sleep of Reason
Produces Monsters, and
The Black Paintings,
Francisco Goya (visual art)
The paintings of
Caspar David Friedrich
and John Mallord
William Turner (visual art)
The Social Contract,
Jean-Jacques Rousseau
(philosophy)
What was people’s understanding of mental
illness in Europe during this era? How did that
inspire this story?
Love, betrayal, forgiveness - these ideas are
found everywhere in music. Pick your own
songs to make a sound track for Giselle.
Giselle makes for great drama. Pick your
favourite scene and write it into a short
screenplay. You can set your adaptation
in the original time period, or another of
your choosing. Who would you cast as each
character?
Research art from the Romantic era – consider
the colors, mood, and use of light. Then, draw
or paint a self-portrait of yourself as a character
in Giselle using the style of the period.
Steel engraving (993 x 71mm) for frontispiece to the revised edition of Frankenstein by Mary Shelley, published by Colburn and Bentley, London 1831
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LIKE ALL LIVE PRODUCTIONS,
EACH BALLET PERFORMANCE
ONLY HAPPENS ONCE.
It is a combination of the performers on
stage and the audiences in front of them
that make each performance unique.
Giselle Evelyn Hart and Henny Jurriens 1982
For this reason, it is in the audience’s
best interest to be visibly and audibly
attentive and appreciative – the
better the audience, the better the
performance on stage will be.
LET US KNOW WHAT YOU THINK!
Write to: Canada’s Royal Winnipeg Ballet | 380 Graham Avenue | Winnipeg, MB, Canada R3C 4K2
E [email protected]